Chapter 15 15.2 The Influence of Abstraction In New York City, photographer Alfred Steiglitz encouraged young American abstractionists, such as Georgia O’Keeffe and John Marin, by showing their work in his studio. New, cutting-edge European art was shown in the 1913 New York Armory Show. This work made American artists aware that they needed to move towards a more modern artistic approach.
Georgia O’Keeffe (1887-1986) Oil on canvas Originally from the midwest, O’Keeffe left her school teacher job to move to New York City and marry the photographer and gallery owner Alfred Stieglitz. When he died years later, O’Keeffe moved to the New Mexico desert and painted regional subject matter for decades.
Georgia O’Keeffe (1887-1986) Oil on canvas O’Keeffe ‘s New York paintings feature recognizable city structures rendered in a semi-abstract, lyrical manner.
Georgia O’Keeffe (1887-1986) Oil on canvas O’Keeffe ‘s New York paintings feature recognizable city structures rendered in a semi-abstract, lyrical manner.
Georgia O’Keeffe (1887-1986) Watercolor on paper O’Keeffe often depicted natural forms based on giant close-ups of flowers and rocks, which appeared more abstract than realistic.
Georgia O’Keeffe (1887-1986) oil on canvas O’Keeffe often depicted natural forms based on giant close-ups of flowers and rocks, which appeared more abstract than realistic.
Georgia O’Keeffe (1887-1986) O’Keeffe lived in New Mexico for many years, drawing inspiration for painting from the local landscape and natural forms.
John Marin (1870-1953) Marin was famous for his semi-abstract watercolors, which were shown in the gallery run by Alfred Stieglitz in New York City. Marin’s paintings impart a sense of agitated excitement, and are influenced by the look of Cubism.
John Marin (1870-1953) Marin departed from the conventions of traditional perspective in his semi-abstract watercolor landscapes. His paintings seem to explode with line and color, borrowing style and attitude from Cubism.
Charles Demuth (1883-1935) The Figure Five in Gold, 1928, oil on board, 36 x 30” Demuth was born in Pennsyvania, studied in Philadelphia, and spent time in Paris. His work bears a strong Cubist influence. He was associated with a group of American painters called Precisionists.
Charles Demuth (1883-1935) Demuth was born in Pennsyvania, studied in Philadelphia, and spent time in Paris. His work bears a strong Cubist influence, but also has the feel of American regionalism.
Charles Demuth (1883-1935) Demuth was born in Pennsyvania, studied in Philadelphia, and spent time in Paris. His work bears a strong Cubist influence, but also has the feel of American regionalism.
Charles Sheeler (1883-1965) City Interior, 1936, oil on board, 22 x 27” Sheeler used machinery, buildings and industrial products for subject matter, concentrating on precise, cleanly rendered geometrical forms and structures. His style is called Precisionism.
Charles Sheeler (1883-1965) Sheeler used machinery, buildings and industrial products for subject matter, concentrating on precise, cleanly rendered geometrical forms and structures.
Charles Sheeler (1883-1965)Sheeler used machinery, buildings and industrial products for subject matter, concentrating on precise, cleanly rendered geometrical forms and structures.His style is called Precisionism.
Charles Sheeler (1883-1965) Sheeler used machinery, buildings and industrial products for subject matter, concentrating on precise, cleanly rendered geometrical forms and structures. His style is called Precisionism.
Charles Sheeler (1883-1965) Sheeler used machinery, buildings and industrial products for subject matter, concentrating on precise, cleanly rendered geometrical forms and structures. His style is called Precisionism.
Charles Sheeler (1883-1965) Sheeler used machinery, buildings and industrial products for subject matter, concentrating on precise, cleanly rendered geometrical forms and structures. His style is called Precisionism.
Stuart Davis (1894-1964) Davis developed a hard-edge style of abstraction that was clean, colorful and personal. His images often included letters, numbers and words, and this typography was an essential part of his compositions. While he borrowed certain visual ideas from the Cubists, his own work anticipates American Pop Art which would arise in the 1960s.
Stuart Davis (1894-1964) Davis developed a hard-edge style of abstraction that was clean, colorful and personal. His images often included letters, numbers and words, and this typography was an essential part of his compositions. While he borrowed certain visual ideas from the Cubists, his own work anticipates American Pop Art which would arise in the 1960s.
Stuart Davis (1894-1964) Davis developed a hard-edge style of abstraction that was clean, colorful and personal. His images often included letters, numbers and words, and this typography was an essential part of his compositions. While he borrowed certain visual ideas from the Cubists, his own work anticipates American Pop Art which would arise in the 1960s.
Arshile Gorky (1904-1948) Gorky came to the United States as a refugee from the Turkish genocide of Armenians shortly after World War I. Settling in New York City, he worked through many different painting styles until he arrived at a look of pure abstraction. After suffering numerous personal tragedies—including illness, the loss of his paintings in a studio fire, abandonment by his wife— he committed suicide at a young age. His work was very influential for the American Abstract Expressionists of the 1950s.
Arshile Gorky (1904-1948) This painting was based on the photograph of Gorky and his mother, seen on the previous slide. It was created during a period in Gorky’s career when his work was influenced by Picasso; we see this in the combination of traditional figurative elements set in an abstract pictorial environment.
Gorky soon abandoned figuration altogether. Arshile Gorky (1904-1948) This was created during a period in Gorky’s career when his work was influenced by Picasso; we see this in the combination of traditional figurative elements set in an abstract pictorial environment. Gorky soon abandoned figuration altogether.
Arshile Gorky (1904-1948) This style of work was the beginning of American Abstract Expressionism. When first developed, the artists intended to express their subconscious, “dream state” in pictures. It seems impossible to define any specific story-telling meaning in such an abstract work. This narrative intent was a direct outgrowth of the European Surrealist movement.
Arshile Gorky (1904-1948) This style of work was the beginning of American Abstract Expressionism. When first developed, the artists intended to express their subconscious, “dream state” in pictures. It seems impossible to define any specific story-telling meaning in such an abstract work. This narrative intent was a direct outgrowth of the European Surrealist movement.
Arshile Gorky (1904-1948) This style of work was the beginning of American Abstract Expressionism. When first developed, the artists intended to express their subconscious, “dream state” in pictures. It seems impossible to define any specific story-telling meaning in such an abstract work. This narrative intent was a direct outgrowth of the European Surrealist movement.
Arshile Gorky (1904-1948) This style of work was the beginning of American Abstract Expressionism. When first developed, the artists intended to express their subconscious, “dream state” in pictures. It seems impossible to define any specific story-telling meaning in such an abstract work. This narrative intent was a direct outgrowth of the European Surrealist movement.
Arshile Gorky (1904-1948) This style of work was the beginning of American Abstract Expressionism. When first developed, the artists intended to express their subconscious, “dream state” in pictures. It seems impossible to define any specific story-telling meaning in such an abstract work. This narrative intent was a direct outgrowth of the European Surrealist movement.
Arshile Gorky (1904-1948) This style of work was the beginning of American Abstract Expressionism. When first developed, the artists intended to express their subconscious, “dream state” in pictures. It seems impossible to define any specific story-telling meaning in such an abstract work. This narrative intent was a direct outgrowth of the European Surrealist movement.
Alexander Calder (1898-1976) Calder was among the first American sculptors to work with abstract forms in space. He invented the mobile—a balanced construction with moving parts, suspended from above, and moving freely in air currents; it may also be motor activated. He was also known for creating the stabile—a standing sculpture with moveable parts.
Alexander Calder (1898-1976)Calder was among the first American sculptors to work with abstract forms in space. He invented the mobile—a balanced construction with moving parts, suspended from above, and moving freely in air currents.
Alexander Calder (1898-1976) Calder was among the first American sculptors to work with abstract forms in space. He invented the mobile—a balanced construction with moving parts, suspended from above, and moving freely in air currents; it may also be motor activated. He was also known for creating the stabile—a standing sculpture with moveable parts.
Alexander Calder (1898-1976) Calder was among the first American sculptors to work with abstract forms in space. He invented the mobile—a balanced construction with moving parts, suspended from above, and moving freely in air currents; it may also be motor activated. He was also known for creating the stabile—a standing sculpture with moveable parts.
Alexander Calder (1898-1976) Sculpture which is designed and created for display in a particular public space is referred to as site-specific sculpture. This is typically funded by arts organizations or government grant money.
Alexander Calder (1898-1976) Sculpture which is designed and created for display in a particular public space is referred to as site-specific sculpture. This is typically funded by arts organizations or government grant money.